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When I bought a copy I was rather surprised at the low price of the book. Then I turned the pages to find this unusual note by the publishers: "This book is published as a service and at cost so that it may be within the reach of as many students as possible.

Today students flock to mushroom tutories to learn "Spoken English" and finally end up by learning more Sinhala or Tamil than English.

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Meanwhile, a few respectable institutes such the British Council and London Business School are making a genuine attempt to impart a good knowledge of English based on grammar and idiomatic expressions. Fernando's book can be used by students who are really interested in improving their knowledge while following a course.

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The author, a student of legendary Prof. Doric de Souza, has long years of experience teaching English to Swabhasha medium undergraduates since She is credited with introducing various methods to induce competence in English among university students. The book is meant for those who are already familiar with the basic grammar of English.

Anybody who uses the book meaningfully would gain a sustained competence in the language, a more comprehensive awareness of its structures extending to higher levels of communication such as style and politeness, wider practice in comprehension and a systematic development of composition skills. Although the target readership had been undergraduates of the University of Colombo, the book is suitable for other universities, Technical Colleges, private institutes and individuals who want to have a better understanding of the language.

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Fernando has departed from the traditional grammar-based texts by adopting a semantic approach. For instance, under Future Events Future constructions with "will" have been introduced. However, such departures from the traditional approach have not abandoned the tried and tested teaching methods. Old hands like me may not need such new tricks to teach the language but the teachers of the new generation will require novel techniques.

I feel that the author's attempt to write a course that is psychologically motivating and stimulating has been successful.

However, teachers would welcome a handbook to be used along with this work as a companion volume. Reviewed by R. Identifying oneself with rituals and its conditions activities promulgate with referred objectives as traditions speaks of 'values' of age-old cultural contributions to society. As we escape to acquired 'politeness' we miss some of the collected reminiscences of our indigenous life and its participating objectives of valued social ingredients.

Bera Handa, an explanation to the readers the 'necessity of knowing 'what is subjective to one's own'.


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The subject of 'drums' comes not only as recollections of 'Cultural values' but as necessitated requirements of relegated fields of study which not only concerns student artists, but the observer in the relationship with his own surroundings. The Vedic resemblances of the co-related activities connected with the ritual performances are purely religious in form; the related field of performance maintains the characteristics required through the 'Language of Drums' - Pada Matra - innovations are the 'designed prospects of the particular 'rhythmic poses' - the divinity of the character formed are the results of this combined unity of the 'Drum and the Dance' concern.

Whether it is a Matra a particular rhythmic character or a designed frequency such as a Addaw or Kastiram brought within the performing characteristics of the performer should in the way of its cultured innovative study, maintain the meaning required. Wattam associated mouldings of the performer as the writer explains are the reformed actions brought in from the basic study of - Haramba. The intricacy of the Tals suffix reliability in rhythmic counts along with the associated movements are the designing of forms with the meaningful suggestions of the Hastas hand gestures.

Here the writer with his deep knowledge of tradition, has brought within the study the qualitative responsibility of the performer in his arrangements of dance as the syllabus of the Wattams records, the necessity of movement according to his requirements. We seldom accustom ourselves with the ritual fractions of study involved with the sanctity of the 'act inscribed as a performance ' Vasantha Kumara's comprehensive search for the valued objectives comes to us as a incentive Sajjayana though not in the associated musical suggestives, the region of its harmony based on certain suggests religious percepts.

The 'drum' the suggestive exposition of the Hymn as the base of its activity combines to the resonance of suggestive notes that conveys the participation as required. As Vasantha Kumara points out these logical combinations of Sajjayana, Hevisi and Magulbera are the earliest that we could record as informed classical traditions of ritual arts.

Piyasena Rathuwithana, a veteran astrologer cum author will be launching five books on astrology and two novels for teenagers at the J. Jayewardene Centre, Colombo on October 1 Tuesday at 3.

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The 'Dina Indra' astrological foundation will present the 'Jyothishya Vidyapathy' an honorary award to Rathuwithana at this event, in appreciation of the long service rendered by him in the field of astrology in Sri Lanka. Lokubandara, the chief guest at the ceremony. Veteran media personnel Dharmasiri Gamage, renowned astrologer Hemasiri Kumaranatunga and Kalashoori Arisen Ahubudu have been invited as guest speakers. Gamini often remembered that great day in his early life.

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He bent his head and the corners of his lips would turn up coyly when he smiled. In Gamini became the Secretary of the Sinhala Music Society of the school and during the same time he became well known as a young artist excelling in water colours. His portraits of the last King of Kandy and his queen, Venkata Rangammal, done in water colour drew the praises of the art teachers and students alike. As he was growing older Gamini also played cricket for the college team. He was a fast bowler. In his late teens he became obsessed with physical culture and his ambition was either to join the Navy or the Police but destiny ruled otherwise.

It was the silver screen that summoned him though he wanted to become a film technician. He found some job in the production as did some of the other local cinema personalities of that era but he had by now decided to join the film world. Vamadevan, the great cinematographer and cameraman, on hearing of his death on Thursday said "Sri Lanakan cinema will never have such a great man again. He was not only an actor. He was a story writer, screenplay writer, lyrics writer, actor, director and everything that a film maker could wish for. His talent and his keen cinematic sense was also strengthened by his intimate knowledge of technical effects, his sense of aesthetics and above all his skill in identifying the images and effects that complement a whole cinematic experience, something we will not see in the local cinema for long time.

Vamadevan who had been cameraman and director photography in a record number of Sinhala films was someone Gamini wanted in his films more than anyone else. Vama, as we fondly call him was behind the camera in all the films that Gamini directed. On that day I went to see him with another mutual friend but Gamini did not want us to leave soon. In fact he kept us the whole day.

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We had lunch and beer and then he started talking about the next birth and about Buddhist meditation. It was not his usual subject but afterwards he took us to his beautiful garden where he showed my friend the beauty of the trees and the flowers in that well nursed garden. He showed us how the evening light lit up the foliage and he seemed to be in a different world that day. Go on and do it. Vamadevan has many things to say about Gamini. There were none that failed. That is why I said we will not have another great man like him again, not for a long time," Vamadevan said.

That was his political career. He met Ranasinghe Premadasa in when the latter was a political nobody. But when Premadasa was at the helm while the spate of violence in was on Premadasa invited Gamini to contest Matara District which was then the cradle of the then JVP insurrection. Gamini went to Matara where he met the people. Almost alone without any UNP ministers he organised his election campaign and was elected to parliament.

After his victory he was elected Deputy Speaker in Parliament.